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761.65 SjTi 58-15652

Schouten

Improvisation on the organ

HENNIE SCHOUTEN

MUZIEKUITGEVERU "SUPERTUNE"
LAREN N.H.

W. PAXTON & Co., Ltd.,

36-38 DEAN STREET,
LONDON, W.I.

Made and Printed in Great Britain.

Other books by the same author, published in Dutch :

1. The Elementary Theory of Music,

2. Music Theory for Advanced Students.

3. First Exercises for Young Harmonium Players.

4. Harmony.

5. An Analysis of Musical Form.

6. Harmony for the Pianoforte.

7. The Technique of Organ-playing.

8. Interpretation and Registration of Organ Compositions.

9. Duets and Trios on the Organ for Beginners.

10. Technical Studies for Organ Players.

11. Three French u Lied " Composers (Duparc, Faure, Debussy).

12. Organ Trios by Great Composers. (Text in English and Dutch).

Improvisation on the Organ was originally published in
Dutch under the title " Improviseren op het Orgel," the
English translation being by J. L. Warren, M.B.E.

CONTENTS

Page

Foreword 3

Harmony 4

Homophonic Improvisation 6

One-part I mpro visat ion 6

Four-part Improvisation ... ... 12

Concluding phrases . 14

Binary form 17

Ternary form 17

I mpro vising homophonic chorale preludes 1 8

Polyphonic Improvisation 22

Canons 22

I mpro vising on a given cantus firmus 28

Two-part counterpoint ... 28

Cantus firmi in Ecclesiastical modes 31

Three-point counterpoint 35

Imitation ... 38

Four-part counterpoint v 43

Improvising polyphonic chorale preludes 44

The two-part chorale prelude 44

The three-part chorale prelude 50

The four-part chorale prelude ... 56

Conclusion 59

Hennie Schouten, through his many publications, has already
rendered invaluable services to the theory of music and to the teaching
of the organ in particular. This short book on the art of improvising
will serve as an excellent work of reference for the average organist
who loves his work, who wishes to restrict his organ-playing mainly to
religious services and who desires, therefore, to make a deeper study
of the art of improvisation.

In doing so, the organist will learn to enhance and elaborate on
the musical material inherently linked with the liturgy. The author,
in his own words, wishes " to assist the prospective organist to master
the technique of elementary improvisation/'

There can be no doubt that Schouten's new publication will make
an important contribution towards stimulating the appreciation and
love of church organ-playing. That is my heartfelt wish.

j, Flor Peeters

'* ^» \ ***** ** -* ^* Director and Professor of the Organ.
Royal Flemish Conservatoire, Antwerp.

FOREWORD

During the last few decades, organists everywhere have shown a
growing interest in the art of improvisation — an interest, which has
been greatly stimulated in some countries by improvisation concerts
given by such outstanding exponents of the art as Messieurs Dupr£ and
Guilmant in France, and Lemare in England and America.

It goes without saying that exceptional ability is the first sine qua
non in order to learn to express oneself in a personal manner in major
musical forms like the sonata, fugue, variations, etc. It would not be
exaggerating to say that only those organists who have grown up in
this tradition can be referred to as improvisers. This, however, is not
the last word about improvisation, for all church organists are
confronted with improvisation problems Sunday after Sunday. The
average church organist does not need to improvise fugues and passa-
caglias, rondos or scherzos, and no-one demands that their spontaneous
creations must be characterized by original melodic invention or
striking contrapuntal combinatory ability.

Every church organist, however, must be able to elaborate on a
musical phrase taken from the liturgy in a simple, cohesive and
responsible way. The purpose of this manual is to assist student
organists to become proficient in the technique of elementary
improvisation.

In order to be able to study the exercise material advantageously,
theoretical knowledge is just as vital as a properly developed playing
technique. The organist must, at least, have studied the theory of
harmony, 2-, 3- and 4-part counterpoint and the principles governing
musical analysis. It is also recommended that his studies include the
canon, the invertible counterpoint and the fugue.

This should not be taken to imply that improvising can only be
started when the theoretical studies have been completed. Anyone
who knows the principles governing the theory of harmony and who
has studied phrase construction, can start with a one-part improvi-
sation. It goes without saying that the theoretical studies must also
be continued at the same time.

Naturally, it is unnecessary for the exercise material to be studied
in the order in which it is given in this book. A student, who has
already studied counterpoint, does not need to wait to learn more about
contrapuntal improvisation until he has fully completed the chapter on
" Homophonic Improvisation/'

Well-founded comments by colleagues, and the wishes of organists
studying this book, will be given the greatest possible consideration in
the event of it being reprinted.

I would like to express my grateful thanks to Henk Badings, the
well-known Dutch composer, and to Albert de Klerk, Professor at the
R.C. Church Music School in Utrecht, and E. J. Kooy, organist of
the Church of St. John and St. Philip in The Hague, for their assistance
in the preparation of the English edition.

H.S.

HARMONY

The fact was mentioned in the introduction that a study of the
theory of harmony was indispensable to all who wished to learn to
improvise. Not only must a large number of tasks be worked out on
paper, but the organist must also build up a great routine in harmonizing
basses and sopranos on the organ. In order to permit organists to
ascertain whether their studies are sufficiently advanced from the
harmonic* point of view, a number of basses and sopranos are given
below which should be developed for four voices on the organ. If these
appear too difficult, a start should be made with simpler exercises.
In this connection, I would draw attention to my book " Harmonieleer
aandepiano " (" Harmony for the Pianoforte/' EL J. Paris, Amsterdam)
which contains a large number of progressive exercises, all of which
can be studied on the organ. The following basses and sopranos
should then ,be attempted, striving each time towards appropriate
musical solutions. When the bass progresses in minims, a flowing
melody can frequently be superimposed by making use of suspensions,
passing notes and auxiliary notes. The pedal need not be used during
these exercises, as all parts can be played on one manual.

Basses

rirji i i i

Sopranos

HOMOPHONIC IMPROVISATION

One-part improvisation

Before a start can be made with one-part improvisation, a thorough
study of phrase construction must be made. For this purpose, I
would draw attention to Chapter I, " The construction of motifs, phrases
and sentences from my book " Muzikale Vormleer '\ (" An Analysis
of Musical Form " — H. J. Paris, Amsterdam).

It is of the greatest importance that an organist, improvising in a
given form, analyses accurately the works of great masters written
in the same form. The importance of this form analysis cannot be
stressed strongly enough, A study by the improvising organist of the
structure of masterpieces dating from the various periods in the
history of music can only prove extremely beneficial to him.

The examples given below, illustrating how a motif can be
developed, may serve as an introduction to the following exercises. In
the following bars from the Allegretto from Beethoven's Piano Sonata,
Op.3i, No. 2, the first group of 4 notes is literally repeated twice, then
repeated a number of times with a slight variation, yet maintaining the
rhythm in such a way that the melodic physionomy is preserved.

In bar 8 et seq.

becomes

In this case, only the rhythm has remained the same, the melody
having undergone a change.

It is possible, however, to vary not only the succession of the
intervals but also the rhythm. In addition, the motif can also be
expanded and developed. The following bars from the Minuet in
Beethoven's Piano Sonata, Op.22, provide a good example of varying
the rhythm and expansion. A1 is a variation on A, and A2 the
expansion.

a a1 a2

The improviser can continue a selected motif by repeating, varying
and developing it. On the other hand he can also introduce a new
motif with a different rhythm immediately after the first motif, an
example of which can be found in the first bars of Mozart's u Jupiter "
Symphony.

These rather brief indications must suffice. For a irore detailed
treatment of the subject, the student should consult the appropriate
text books on form analysis and composition.

The first exercise is the improvisation of a concluding phrase of
four bars based on a given introductory phrase. The first bars of
the introductory phrase are repeated in the concluding phrase. As
the concluding phrase finishes on the tonic, however, it must have a
different ending from the introductory phrase.
Taking the following introductory phrase

the following concluding phrase might be improvised:

The last bars of the concluding phrase, however, can equally be either

Various endings are, therefore, possible.

Improvise concluding phrases based on the following introductory
phrases :

Concluding phrases must now be improvised which, although
dissimilar to a large extent to the introductory phrases, correspond with
them from a rhythmic and melodic point of view.

In the following example, the concluding phrase (with a slight
variation in the last but one bar) has the same rhythm as the intro-
ductory phrase. In addition, there is an obvious similarity in the
succession of the intervals. In bars i and 5 there is the same progression
of ascending and descending intervals, and this is also the case with
bars 2 and 6.

9 (* [If ^E

H£

In' the concluding phrase which follows, a certain similarity is also
apparent, as the first bar of the introductory phrase occurs in reverse
in the concluding phrase.

The following example shows an ascending movement in the
introductory phrase being answered by a descending one in the
concluding phrase.

Improvise a number of concluding phrases to match each of t he-
following introductory phrases. The exercises so far given may also
be used for this purpose.

PA B J

ti^ i J r r r i r ^ r ^ i

• r r r i "• a

The following exercise consists of improvising a concluding phrase,
built up partially on the same motifs as the introductory phrase, or
also on entirely new motifs. The following introductory phrase is
built up of 2 motifs.

motii i.

In the first of the concluding phrases given below, one can find
the same motifs, but in a different order. The second concluding
phrase begins with a new motif, followed by a repetition of motif i from
the introductory phrase. The third concluding phrase is built up of
entirely new motif material.

Improvise a number of concluding phrases to match each of the
following introductory phrases. The previous exercises may also be
used for this purpose.

tfri ]* r i

• — i

•* ft-nP

P P 0 •

— 5 H

yp" * ' i — i

i=M

L4£d

M=I

M-r11 rrp

A start can now be made on the improvisation of complete phrases.
In order to provide a certain amount of guidance, I have included the
following rhythmic patterns of passages built up on one motif.
Adhering to these patterns, melodies of 8 bars should be improvised.
As a rule, an imperfect cadence on the dominant will have to be made
in the fourth bar, though other cadences are, of course, possible.

I JIJ3JJIJ JIJ3JJIJ JIUJJIJ JIJ3JJIJI
I JJJ^JIJJI3JIJJJC3JIJJ^JI*-

J >/T3IJ >J >IJ >JTJIJ.

Before starting to improvise completely free phrases based on a
single motif, it may prove desirable to write down a number of motifs
in various keys and in various times. One or more phrases can then be
improvised on each of these motifs.

When sufficient routine has been gained in this respect, a start can
be made on the improvisation of phrases based on more than one motif.
Eveiy teacher knows that when it comes to improvising, some students
possess a natural ability to do what others only acquire after years
of practice. It frequently happens too, that students experience
difficulty in combining a number of motifs to form a musical entity,
falling back time and again on the same rhythmic devices. In that
case, it may prove useful to give the student only the rhythmic
notation from various compositions, and to allow him to improvise
while adhering to these rhythms.

The exercises given will serve admirably to assist the student in
becoming proficient in the technique of phrase construction. Gradually,
however, an attempt must be made to improvise phrases of precisely
8 bars, without counting the bars while playing, and without being
consciously aware of the make-up or succession of the motifs. In the
end, the student must allow himself to be led by his sense of form, he
must be able to hear whether a phrase is balanced, and whether it is
satisfying from a musical point of view. When a student has
progressed to the extent where he can allow his fancy to dictate his
improvisations, then, in'certain cases, he is bound to expand a phrase.
I have purposely omitted giving any exercises : when a deliberate
effort is made to improvise an irregular phrase, the result will seldom bo
satisfactory from a musical point of view.

The improvisation of more than one part

As with one-part improvisation, a start should also be made in this
case with the improvisation of a concluding phrase which, with the
exception of the final notes, is identical with the introductory phrase.
In certain cases, it may be deemed desirable for the second bar of the
concluding phrase to differ from its counterpart in the introductory
phrase. In the following example, the second concluding phrase runs
much more naturally than the first.

Introductory phrase

ist concluding phrase

2nd concluding phrase

When a satisfactory concluding phrase has been found, the whole of
the passage can be harmonized for four voices, whereby the bass is
played on the pedal. The student should not only strive to ensure
that the harmony is appropriate, but must also concentrate on good
fingering and footing and a technically correct performance.

The aforementioned phrase could, therefore, be harmonized as
follows :

-oe-

Improvise a suitable concluding phrase to the following introductory
phrases. Then play the introductory and concluding phrase slowly
and try and listen to the latent harmony. Finally, harmonize the
whole phrase. The tempo should be slow enough to allow the whole to
be followed completely. Every exercise must be repeated as often as
necessary until it can be played smoothly and correctly.
Major

^^6^^

Concluding phrases must now be worked out for the above
introductory phrases which, although rhythmically identical with the
introductory phrase, differ from it melodically,

Improvise various concluding phrases, to suit each introductory
phrase, made up of minims. Adhere to the most satisfactory concluding
phrase and harmonize the latter as already indicated.

When the above exercises no longer present any difficulty, the
student may attempt more difficult phrases. It is recommended that
various concluding phrases are improvised for each of the following
introductory phrases, all of which should be harmonized. These
phrases allow of a richer harmony : chords of the seventh, intermediary
dominants and grace notes may be employed. The phrases, given
under " One-part improvisation/' can also be developed for four voices.

Major

The improvisation of complete phrases of 8 bars needs no further
elucidation. In this case too, a phrase can be built up on one or more
motifs. It is also recommended that exercises are carried out in various
keys and in various times.

Improvisation of a modulating concluding phrase

When improvising a modulating concluding phrase, a natural,
logical modulation must be achieved in 4 bars.

Hen* are sevr-rai ».-\t

*ntro. hra^t

Concl. phrase modulates to G maj.

rf ^-4-,

-e —

,-j

rf— h

"™Tl

m *' Q

<«

~^**m
&

mm**

=£

*<*i«i«

•4

•-•
k

=M=

— t—

^=r.

-J

Intro, phrase in C maj. Concl. phrase niddiilatt-s to ]•. mm.

Improvise modulating concluding phrases to suit the following
introductory phrases :

^F-

n i Concluding phrases modulating t

"^^**"T \ ^,._ /• _^ TT> r.»

I ^-'V'4^v^^.^vl^ll^ |/niaot.^ lliv/(.l u Ut 111 1^ llf
A mm , G maj , E mm , F maj , and
D mm.

r ^ i rf r

o I Concluding phrases modulating to
E mm., D maj., B mm., F maj , B Flat
maj.

Concluding phrases modulating to
C mm., E Hat maj., A Hat maj., F mm.,
F maj

T - I I I I I at P \ £ J7~l Concluding phrases modulatu

4 Xk f» (^ "=g^=^= gj g=" I r P I Bmm., F sharp mm.. C sharp
"Y rJ I [ l| ll| I I E maj , C maj.

Concluding phrases modulating to

mm ,

Concluding phrases modulating to K
flat mm., I) maj., C maj., D mm,,

i i Concluding phrases modulating to

? IP ^ | C maj., C sharp mm , G sharp mm.,
' I I — " B maj , F maj.

r=r

P-I

f~T~]

•O [ Concluding

phrases modulating
maj., D mm , C maj.

^=M

b^=bd

— — 1 A maj., D

Concluding phrases modulating to
I) maj., C sharp mm., F sharp mm.,
C maj.

=ft

E f* P

19-

4^M

LL^

1 '

>^Mt

g C J

J-J

_EL.

«\

Concluding phrases modulating to
D maj., B mm., E maj., C sharp min.

Concluding phrases modulating to
E flat maj., fi mm., B flat maj., F
min., A flat maj.

In the following examples only the first bars are given. These bars
must be developed into a phrase of 8 bars ; it is possible to use either
the given motifs only and or other motifs. One can modulate directly
to the new key, or reach the new key by way of one or more intermediate
keys. In the latter case, the bars in which a certain degree of the
intermediate key must fall must be determined beforehand.

The intermediate keys, through which the new key can be reached,
are indicated in the first exercise given below.

Emin. Gmaj. Cmaj.
dom. dom. tonic.
Modulating to D flat maj.

3 Modulating to F maj.

1 — 3-

Modulating to G maj.

Modulating to G sharp min.

Modulating to B min.

Modulating to F maj.

Completely free phrases may now be improvised, modulating from
A flat major to G major (2/4 time), D major to G sharp minor (3/4 time,)
B flat major to E minor (4/4 time) and C sharp minor to C major (6/8),
A major to F major (9/8), E major to A flat major (4/4). It is recom-
mended that these exercises are developed in various ways, chromatically,
as well as in both their enharmonic and diatonic forms.

Binary form

The simple binary form consists of two phrases of 8 bars each.
During the first phrase, one often modulates to a related key,
modulating back to the original main key in the second phrase.

A detailed analysis of the various forms will be found in the
appropriate chapter of my " Muzikale Vormleer " (" An Analysis of
Musical Form ").

In order to provide a guide for the student's first exercises, a
number of "patterns" are given below. The indication "Motif i,"
by a group of 2 or 4 bars, does not mean that this motif must be 2 or 4
bars long, but that the group in question must be built up on this motif.
A. Phrase i : 8 bars, modulating from C major to G major

Bars 1234 5678

Motif i Motif 2

Phrase 2 : 8 bars, modulating from G major toC major

Bars 1234 5 6 7 8

Motif i Motif 2

B. Phrase I : modulating from G minor to B flat major

Bars. 12 34 5 6 7 8

Motif i Motif 2 Motif i Motif 2

Phrase 2 : modulating from B fiat major to G minor

Bars 12 34 5 6 7 8

Motif i Motifs Motif i Motif 2

C. Phrase i : modulating from B minor to D major

Bars 12 34 5 6 7 8

Motif i Motif 2 Motif i Motif 2

Phrase 2 : modulating from D major to B minor

Bars 1234 56 78

MotiTi Motif 3 Motif 4

These patterns are by no means the end of all the possibilities of
improvising on binary forms. Here, too, the organist must discover all
the various possibilities for himself in the long run.

Ternary form

A simple ternary form consists of three phrases, the third generally
being a repetition of the first, when the pattern is A-B-A. Improvising
in this form makes a heavy demand on the memory, as the first phrase
must be remembered while playing the second, in order that it may be
repeated again afterwards. Instead of literal repetition, however, a
new development of the same motifs is permissible, while adhering to
the same harmony.

Improvise in ternary form, in a major key of your own choice, the
second part of which should be in the dominant key. Then attempt
a similar one in a minor key, the second part of which should be in the
parallel key.

Improvising Homophonic chorale preludes

Homophonic chorale preludes are preferably based on one or more
motifs taken from the first or different lines of a chorale.

In the bars which follow, all the notes of the first line of Psalm 86
of the French Psalter can be found. This motif also lends itself to
being used inverted.

ITE

Inverted

When we wish to improvise a prelude of 8 bars on a given motif, we
can set about it in a variety of different ways. We can repeat the
motif on another degree of the scale or in a different key, we can vary
it, invert it or follow it with a new motif. In order to provide a guide
for the student's first exercise, a number of patterns for the development
of a given motif, are given below.

A. Motif in major key, motif modulating to B flat major.

(bars i and 2) (barss and 4)

Motif inverted, , motif in major key

(bars 5 and 6) (bars 7 and 8)

B. Motif in major key, motif modulating to D minor

(bars i and 2) (bars 3 and 4)

Modulating back with variations on the motif to the major key.

(bars 5 to 8)

There are countless ways of improvising a prelude on a given motif
in one of these forms : this provides the organist with opportunity
to apply everything dealt with in the chapter on Homophonic
Improvisation. A motif should be taken first of all from one of the
chorale lines. Until a fair degree of proficiency has been attained, the
student should write the motif down and consider the possibilities
which it offers. In certain cases it is recommended that the different
variations which the motif offers should also be noted down. A rough
plan should then be drawn up.

Even in this simple form, a great deal of variation is possible.
Student organists, who are unable to make a deep study of counter-
point, can improvise preludes which are logically constructed and
musically appropriate in a simple, homophonic form.

Improvise a number of preludes, approximately 8 bars long for use
with chorales of your own choice.

A prelude, approximately 16 bars long can also be built up from a
single line of a chorale. In order to avoid the danger of monotony, it
will generally prove desirable to vary the motifs in an expressive
manner and to play them in various keys. It is probably superfluous
to say that indiscriminate modulation should be avoided. During the
preliminary exercises it is necessary in any case to restrict oneself to
related keys.

The following motifs may be derived from the hymn " Richmond/'
by Thomas Haweis.

Motif 1

Motif 2

Motif 3

Improvise a prelude of 16 bars on this hymn, based on the following
pattern :

Bars 1-8, modulating from G to D ;

(Bars 1-6, on motif i, bars 7-8 on motif 2) ;

Bars 9-12, modulating back to G major, on motif 3 ;

Bars 13-16, in G major on motifs i and 2.

For a prelude on "An Wasserfliissen Babylon," we will use the
first and fifth line of the chorale as a basis.

istline (A), fab r,

Jfl I

=t=i

Pfly 1

" * " r

— g

— J

5th line (B).

Bar 1-8 and bars 13-16 could be built on A, bar 9-12 on B. It is
also possible to alternate A and B already in the first phrase. It is
now no longer necessary to give instructions for the development of the
motifs. I would only like to draw attention to the alternation which
can be obtained by harmonizing a melodic fragment in various ways.

T Y

A prelude in ternary form might be built up as follows :
Prelude to the hymn " Diademata."

On the first line (fa «* \ j j J J g

On the second line :

'I'M ' I j I

Bars 1-8, on the first line, modulating to B major.

Bars 9-16, on the second line, beginning in B major and modulating

back to E major through related keys,
Bars 17-24, on the first line in the original key.

Organists who have studied counterpoint, will be struck
immediately by the possibilities which both motifs offer for imitation.
It is quite permissible to make use of imitations when improvising in a
homophonic form.

Motif material for the ternary form can also be derived from a Gregorian
melody.

- cr na - tns est

bis

LELT V LLT

et TO - ca - bi tur no - men.

- jus

The above excerpts taken from the Introitus " In Die Nativitatis
Domini " might be improvised as follows :

r r r inTrp

Using these motifs, improvise in ternary form A-B-A.

Note. — it is more in keeping with the free rhythm of the Gregorian
chants to time A and B in 2/4 and 3/4 time respectively.

err

pin*

Naturally, an improvisation making use of alternating time
signatures, makes heavy demands on the organist's powers of concentra-
tion. Students, who find this exercise still a little difficult at this
stage, had better wait until they have become more proficient in the
art of improvising by means of other exercises.

Obviously, I have only been able to give certain indications in this
chapter, for a deep treatment of homophonic chorale improvisation
would be out of the question in such a short space. Experience has
shown, however, that a few indications are generally sufficient (for
organists capable of improvising musical and logically constructed
forms) to assist them in the improvisation of homophonic chorale
preludes.

POLYPHONIC IMPROVISATION

It not infrequently happens that a student who is able to solve all
kinds of contrapuntal problems on paper experiences the greatest
difficulty when it comes to elementary contrapuntal improvisation.
The cause of this, often enough, is that his polyphonic ear has not been
developed adequately. In order to improvise two parts, one must, of
necessity, be able to follow two parts simultaneously.

There are various methods of developing one's polyphonic ear. The
performance of polyphonic music is an excellent way of doing so, one
part being sung and the other played simultaneously. The best way
to begin is to start with simple two-part pieces (e.g. canons), in which
both parts are sung alternatively. Later, three- and four- part composi-
tions will be dealt with. In this case, one must concentrate specially
on singing the middle part(s), while playing the other parts
simultaneously. Adequate exercise material can be found in the works
of Josquin, Palestrina and other old masters, written in the vocal style.

Another method is the system of writing down polyphonic
dictations. Naturally, one must begin with two-part dictations, and
the transition to three-part works must be achieved gradually.

The playing of canons, in which only the proposta (subject) is
given, is also very useful. This forces the organist to follow two
voices simultaneously. In this case, however, the proposta must be
learnt by heart separately. If it is played from the music, it is bound
to be combined automatically by the eye instead of by the ear.

Long canons, and canons of which the proposta is not readily
discernible by the ear, should therefore not be used. Fugue themes,
however, which permit canonic stretto, are very suitable. By way of
introduction, a number of short and very simple canonic exercises
precede the following fugue themes and canonic fragments from Bach's
Dorian Fugue.

The place where the riposta should enter is indicated in these
exercises. The following exercise should be performed as follows :

-rff

il — T~

g p

RFH

J Jj -

•i-Vi/%

•wM*-

/T |

-4—

1 J J J J

Llie

octave

• —

— »-f-

ft — fi

• 4~

— rf1

-J

Both parts should be played on different manuals with contrasting
tone-colour. Canons notated in the bass, can be played on one
manual and the pedal.

In the following exercises the proposca, therefore, should be
memorized as well as the place where the riposta enters, after which
the canon can be played from memorj .

At the octave

*y<-*j rr'rF***!
5^.nrflT nric

PA <- 1 r

zz:

i At the octave
At the octave

Canons from the Dorian Fugue for organ by J. S. Bach.

*1S — 2k =

r •"" - r p ' i

_ 1

f fl

#""-~"

•*s

r r^r J

i^ji m

At the unis

1^ *E — i

' L 1 1 1

r Lf i

^=* r

At the

octave

At the fifth

* ¥ * » —

— p—

-rffffi

_ — j j

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Improvising on a given Cantus Firmus
Two-part counterpoint

The first exercise consists of improvising a counterpoint in
semibreves against a given cantus firmus. When doing so, the following
rules must be borne in mind :

1 The permissible melodic intervals are : major and minor
second, major and minor third, perfect fourth, perfect fifth,
minor sixth and perfect octave.

2 No two intervals of a fourth or a fifth may follow each other
in succession.

3 A skip of an octave is not permissible in the leading note.

4 A note may only be repeated whenever this is necessitated by
the voice leading.

5 Only consonant intervals may be used between the cantus
firmus and the counterpoint.

6 The unison is only permitted in the first and last bar.

7 Every exercise must begin and end with a perfect consonance.
Whenever the cantus firmus lies in the lower part, the counter-
point begins on the unison, dominant or octave ; when the
cantus firmus is in the upper voice, the counterpoint begins on
the unison or octave.

8 No more than three thirds or three sixths should follow each
other in succession.

9 The distance between the cantus firmus and the counterpoint
should not as a rule exceed a tenth.

10 A succession of parallel or hidden fifths and octaves is forbidden.

11 The voices may interlace each other.

12 Modulation to the relative key, the dominant key and its
parallel, the sub-dominant key and its parallel, is permissible.

13 The cantus firmus may (e.g. in connection with the range of the
pedal) be transposed an octave higher or lower, or into another
key.

The following cantus firmus should be developed in the following
ways :

1 C.F. right-hand, counterpoint left-hand.

2 C.F. left-hand, counterpoint right-hand.

3 C.F. left-hand, counterpoint pedal.

4 C.F. pedal, counterpoint left-hand.

The cantus firmus and counterpoint should be played on various
manuals with 8' feet registers of equal volume, but differing in tone-
colour* In the case of the pedal, only 8' feet registers should be used.

For organists who have already practised the written development
of cantus firmi, improvising a counterpoint in semibreves should not
present any great difficulty. It is not sufficient, however, to be, satisfied

with strictly adhering to the rules given above. I n spite of the restricted
possibilities an attempt must be made to achieve a complete musical
entity.

Counter-
point

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The counterpoint above creates an uncertain, dull impression. Nor
does it progress deliberately towards a melodic climax. In addition, a
monotonous effect is created by the fact that "A " is repeated three
times in four successive notes.

The following counterpoint, set against the same C.F., flows much
more naturally —

Counter-
point

C.F.

1 — e — 1

— e —

,-r -<

x*i, ^

— o —

— e —

— o —

While the highest note of the melody is reached on the fifth note
in the C.F., it is not reached until the seventh note in the counterpoint.
This gives the counterpoint, therefore, an independent melodic line.
Without it differing from the cantus firmus from a rhythmic point of
view, the counterpoint assumes a curve of its own due to the crossing
of the higher notes.

If the study of the following cantus firmi is to serve its proper
purpose, an attempt must be made to find musical counterpoints which
flow naturally. In addition, the exercises must be repeated as often
as may be necessary until the student can play them without hesitation
in good time and with the correct fingering and footing.

The following cantus firmi should be dealt with in this way —

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Cantus firmi in ecclesiastical modes

One often hears the opinion voiced that in music written in one of
the ecclesiastical modes, no notes should occur which are foreign to the
scale. It is true that in certain cases there is a special attraction in
only using notes common to the scale. All the same, the prohibition
of notes foreign to the scale cannot be defended on historic grounds.

During the period in which the ecclesiastical modes flourished, the
seventh note was augmented at the end in the Dorian, Mixolydian and
Aeolian modes, but not in the Phrygian.

Dorian Phrygian Mixolydian

Aeolian
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flf* ffo II " o II " ° 1

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In the Dorian mode, the sixth was not flattened in ascending
passages, but frequently when descending, and invariably when this
sixth formed an auxiliary note with the dominant.

-Mr r* " "O

It is impossible to treat the ecclesiastical modes at greater length
within the short space of this book. Organists who wish to learn more
about this subject are advised to study the book on counterpoint theory
by Knud Jeppesen.

The following cantus firmi must be exercised in the same way as
indicated in the previous pages. The same rules apply. The only
restriction is that as yet there should be no modulation. Notes foreign
to the scale may only be used in a Dorian, Mixolydian or Aeolian
exercise in the last but one bar, when the seventh note should be
raised a semitone. In addition, the sixth is lowered a semitone whenever
this serves as an alternating note to the fifth.

The cantus firmi to be dealt with in this way are as follows :

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Dorian

Phrygian

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When improvising a counterpoint in crotchets against a cantus
firmus in semibreves, the following should be borne in mind :

1 The first crotchet of the bar must be a concord ; the following
notes can be either consonants or dissonants (passing or auxiliary
notes).

2 The unison is permitted, except on the first beat of the bar ;
in that case the counterpoint must continue in- the opposite
direction.

3 The first bar can begin with a crotchet, but it must be followed
by a perfect consonant.

4 The last bar can include four crotchets, two minims or a semi-
breve.

5 Two or more skips should not be made in the same direction.

6 No skip upwards should be made from an accented to an
unaccented part of the bar.

7 The " nota cambiata " can be used frequently. •
A number of examples are given below.

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y Dorian

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The cantus firmi already given can also be used for these exercises.

Mixed counterpoint (florid counterpoint) can include minims.
crotchets and syncopated notes, in addition to quavers and a dotted
minim. The syncopated note must be introduced by a minim and must
be resolved in the second half of the bar. The syncopated note can
also be resolved directly, but it is also possible for the note on which it
resolves to be preceded by one or more other notes.

When crotchets occur in the first half of the bar, a minim may
occupy the second half, unless this minim is tied-over to the following
bar. Quavers can only be used on the second and fourth beat of the
bar ; preferably not more than two quavers should be used per bar.
In mixed counterpoint, in 3/2 time, the following groups may be
encountered — the semibreve, the minim, the dotted minim, the crotchet
and the syncopated note, but no quavers. Rhythms frequently
encountered in 3/2 time are :

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J J J J J J

J J,

J. J J J

The following rhythms are not usually met with :

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A number of examples of counterpoints in 4/4 and 3/2 time are
given below. The cantus firmi, given on pages 29 to 33 can also be
again developed in four different ways here.

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Three-part counterpoint

Apparently, there is no great difference between improvising two
parts in semibreves against a given cant us firmus in the soprano,
and the three-part harmonization of a cantus firmus. \Yhen improvising
in counterpoint, however, an attempt must be made to achieve the
greatest possible degree of independence of the melodies. Each part
must be characterized by its own melodic curve, so that each note should
not be repeated more than once. The simultaneous repetition of two
notes in two different parts is, therefore, not permitted.

When attempting to achieve a good melodic line, it may not always
be possible to complete all chords fully. The last chord but one,
however, must always be complete.

The fourth (the augmented as well) is always permissible between
the upper and middle voices, but never between the lower voice or
any of the others.

Hidden fifths and octaves can be played without objection,
providing the smallest interval occurs in the upper voice. The interval
between the upper and lower voices should preferably not exceed two
octaves.

The cantus firmi (major, minor and in the ecclesiastical modes)
already given can now be developed in three ways :
i Cantus firmus, upper voice, manual 2.
Counterpoint i, middle voice, manual i.
Counterpoint 2, lower voice, pedal.

2 Counterpoint i, upper voice, manual 2.
Cantus firmus, middle voice, manual i.
Counterpoint 2, lower voice, pedal.

3 Counterpoint i, upper voice, manual 2.
Counterpoint 2, middle voice, manual* i.
Cantus firmus, lower voice, pedal.

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The rules governing two-part counterpoint still apply when
improvising a counterpoint in seinibreves and one in minims against
a given cantus firmus.

Each cantus firmus must be developed in six different ways :

1 Cantus firmus, upper voice, manual 2.
Counterpoint in minims, middle voice, manual i.
Counterpoint in semibreves, lower voice, pedal.

2 C.F., upper voice, manual 2.

C.p., in semibreves, middle voice, manual i.
C.p., in minims, lower voice, pedal.

3 C.p., in minims," upper voice, manual 2.
C.F., middle voice, manual i.

C.p., in semibreves, lower voice, pedal.

4 C.p., in semibreves, upper voice, manual 2.
C.F., middle voice, manual i.

C.p., in minims, lower voice, pedal.

5 C.p., in minims, upper voice, manual 2.
C.p., in semibreves, middle voice, manual i.
C.F., lower voice, pedal.

6 C.p., in semibreves, upper voice, manual 2.
C.p., in minims, middle voice, manual i.
C.F., lower voice, pedal.

It is not necessary that the order given above is strictly adhered to.
As the exercises in which the counterpoint in minims is in the lower
voice are the most difficult, these can better be left until the last.

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The rules governing two-part mixed counterpoint still apply when
improvising a counterpoint in mixed note values and one in semibreves
against a given cantus firmus. In this case, too, the exercises in which
the mixed counterpoint occurs in the lower voice can better be kept
until the last.

Several cantus firmi, in major, minor and the ecclesiastical modes,
should be treated in this way, both in 4/4 and 3/2 time, until adequate
experience has been gained.

Dorian

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Imitation

Two of the various possibilities which imitation offers are ol
immediate interest to us :

1 A motif is imitated in one voice.

2 A motif, occurring in one voice, is imitated in the others.

The following examples, taken from Bach's works, illustrate both
possibilities :

In the above example (bars 17-19 of Bach's Organ Prelude in
F minor), which is given on four staves for the sake of clarity, a
different motif is imitated in each of the four voices.

In the following bars from Bach's Organ Fugue in C minor, the
motif, introduced in the upper voice, is imitated first in the middle
voice and later in the lower voice :

We shall start with the improvisation of a short two-part fragment,
in which a separate motif is imitated in each of the voices :

Motif i

If we were to continue these bars as follows, the result would be a
very monotonous sequence :

Imitating the first motif a second above has too little effect ; also,
having heard the third bar, one has very little difficulty in forecasting
the further course of the progression. There is nothing more tiring
and boring than a sequence which contains nothing new.

When improvising short fragments in which this imitation
technique is employed, one must first decide the interval at which the
motif is to be imitated. There are no rules governing this, and the
organist must allow this to be dictated by his own taste and fantasy,

He must also bear in mind that a sequence should not be too
long — it becomes so when its repetition creates a monotonous effect.

The following example shows how the bars given above might be
developed :

i^PP

Special attention must be paid to imitating the same motif in
both voices. It is unnecessary to repeat the motif without any
alteration — a skip of a fifth can, for example, be" answered by jumping
a fourth or an octave. The motif may also be played wholly, or partially
inverted. All one must bear in mind is that it remains recognizable.

can be imitated as follows —

When a motif is being imitated in two voices, the imitation can
be interrupted for one or two bars. A motif may be introduced in the
upper f oice and answered in the lower voice, before reversing the
procedure after a short break by introducing the subject matter in the
the lower voice and answering it in the upper voice. The only criterion
is that an effective musical result is achieved.

It is strongly recommended that these 'exercises be carried out
on two manuals with contrasting timbres. This makes it easier to
follow the course of both voices.

Here is an example :

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Improvise two-part fragments, each 6-10 bars long, making use
of the following motifs —

In addition, the organist must improvise a large number of
fragments on themes of his own invention. This entails a great deal
of exercise, as imitation is of the greatest significance in matters of
improvisation,

Now let us consider improvising two counterpoints against a
cantus firmus which imitate each other. In this case too, it is not
necessary to continue the imitation without an interruption. Study
the following examples :

Mixolydian

The cantus firmus should be 'played alternately in the upper,
middle and lower voices. It is recommended that the student com-
mences with the cantus firmus in the lower voice.

The cantus firmi given on pages 29-32 may also be used as
exercise material.

Four-part counterpbint

Three counterpoints in semibreves can be improvised against a
single cantus firmus in the following ways :

1 Soprano and alto, right-hand, manual 2.
Tenor, Cantus firmus, left-hand, manual i.
Bass, pedal.

2 Soprano, Cantus firmus, right-hand, manual 2.
Alto and tenor, left-hand, manual i.

Bass, pedal.

3 Soprano and alto, right-hand, manual 2.
Tenor, left-hand, manual i.

Bass, Cantus firmus, pedal.

Here is an example with the Cantus firmus in the tenor :

C.F,

Fed.

JUL

Naturally, it is quite possible to improvise three voices in counter-
point making use of imitation. No exercises are given for this, as this
manual is restricted purely to elementary improvisation.

All those who have diligently studied the exercise material
given up to this point, will be sufficiently advanced to commence
chorale improvisation.

IMPROVISING
POLYPHONIC CHORALE PRELUDES

The two-part chorale prelude

The simplest form of a two-part chorale prelude is a chorale melody
accompanied by a counterpoint in shorter (though equal) notes.

In the example which follows, the first line of the hymn, u The
Old looth," is set in counterpoint against a counterpoint in crotchets —

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A ,1 f7\

-. -. i . . . .

Jfff 1

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•w — ^^ — ff

[° 1

j —

M* ft

The remaining lines of the hymn should be developed in the same
way on the organ.

Xo\v. let us write out the hymn in scmibreves, improvising a
counterpoint in crotchets---

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Treat the k" Chant Magnificat/1 by J. Barnby, in the same way.

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In order to provide a certain amount of variety, the first lines
of a hymn may be played in the upper voice, the following in the
lower voice, or in the reverse order. Develop Henry Smuit's " Chant
Magnificat " in the same way.

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Tp^

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1

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•

Jjj

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A chorale prelude naturally becomes more interesting \\luin an
attempt to realize rhythmic variety in the accompanying voices i<x
made. We could, for example, improvise a florid counterpoint against
a hymn tune, as follows :

Psalm 36
u Man. 1

0 Mensch, bcwcin* dein Siindo gross

Man. 2

;!v ,

-J—*

Treat the second and third lines of this hymn in the same way,
setting the cantus firmus in the base when repeating.

There would be no point in giving more exercises, as all hymns can
be developed in this way. Organists would do well to continue this
type of exercise until they attain sufficient experience.

A certain rhythm can also be maintained in the contra-melody.

Take the hymn " Nun danket alle Gott " and improvise a counter-
point based on the rhythm and instructions given below —

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]

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^H^

Transition

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ft=
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e —

— ^ —

— n —

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/7\ Transition

Improvise a contrapuntal voice, adhering to the rhythm indicated
below, against the melody of the hymn " Allein Gott in der Hoh' sei
Ehr."

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_p — _

f=h

4i —

r^H

±=t=

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+ — - —

Q ji

^^h

j j

r^l

— j ^ —

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[j — J~l

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.' . ._

1 1

A two-part chorale prelude does not always need to be made up of
a counterpoint set against a cantus firmus. A motif may also be
derived from the first line of the hymn and then developed by imitation.

We might take the first line of Psalm 42 of the French Psalter,
from which the following motif is derived-

Develop this motif by imitation to form a .short prelude.
might start as follows—

The motif above includes all the note* of the lir^t line of UK- h\ inn.
This, however, ib not absolutely necessary, for it insufficient when thnv
is an obvious melodic tie between the line of the hymn in question ;in<l
the selected motif.

Improvise a prelude using imitation, based on the following motif,
to the hymn " Ein' feste Burg ist unser Gott."

A fine example of the treatment using imitation of a Gregorian
melody is the prelude to the Offertorium "Terra Tremuit," by the
well-known Dutch organist and composer, Albert de Klerk.

Andante

Both of the techniques, dealt with in the chapter on Imitation,
have been applied in this case. The upper voice is imitated by the
lower voice in the first few bars, after which each voice imitates itself.

Improvise a short introduction to the hymn
which might begin as follows :

Avo Maris Stella.

It would be superfluous to attempt to set more exercises. Every
organist will be able to find motifs for a two-part improvisation using
imitation in every hymn or Gregorian cantus firmus.

The three-part chorale prelude

It seldom occurs that a chorale melody, in which the counterpoint
is formed by two counter-melodies in semibreves, is required as a chorale
prelude. The playing of hymns, in which the cantus firmus alternately
occurs in the upper, middle or lower voice, is, however, an excellent
preparatory exercise for certain forms of three-part chorale prelude.

Here, as an example, is the first line of the hymn " St. Anne "—

C.F.I

Continue the development in the same way, setting the cantus
firmus in the upper and lower voices.

We will now take a hymn tune, improvising one counterpoint in
semibreves and one in shorter notes, in such a way that the cantus
firmus is heard alternately in the upper and middle voices.

Here, as an example, is the first line of the hymn " Vater unser
im Himmelreich." The remaining lines should be treated in such a
way that the 1st, 3rd and 5th lines are heard in the middle voice, and
the 2nd, 4th and 6th in the upper voice ;

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A greater degree of variety can be obtained by improvising two
counterpoints in complementary rhythm against the hymn tune. In
the following examples the actual melodic movement continues unbroken
in crochets (or in quavers), though alternating between the contra-
puntal voices :

Schmiicke dich, O Hebe Seele

> « j. —

'rrr

O Welt, ich muss dich lassen

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Hymn "Angelus."

fat

Develop the remaining lines of these hymns in the same way.
Then improvise a prelude to Psalm 118 of the French Psalter, built up
as follows —

Hymn tune in semibreves in the upper voice.

Lines I and 2, crochets in the middle voice, semibreves in the
lower voice.

Lines 3 and 4, semibreves in the middle voice, crotchets in the
lower voice.

Lines 5 to 8, crotchets evenly distributed between the middle
and lower voices.

A short motif may be incorporated in the accompanying voices.

Hymn " Bristol."

T. RAVENSCROFT

7tlrr r r

Develop the above hymn in a similar manner.

The types of three-part chorale preludes dealt with up to now
have been characterized by an uninterrupted movement of crotchets
or quavers in the accompanying voices, with the hymn tune played
in the soprano. In the following examples, the melody is set in the
lower and middle voices and is accompanied by contra-melodies
in florid counterpoint.

Psalm 95 in the Dorian mode

Ped.

Psalm 69 in the Phrygian mode

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Lobe den Herren

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Two contra-melodies, each of which have their own rhythm that is
strongly maintained throughout, may be improvised against a given
rantus firmus :

Jesu, meine Zuversicht

Fed.

Develop the remaining lines of this hymn in the same way. A
three-part chorale prelude can also be improvised on a motif, derived
from the fir^t line of the hymn, making use of imitation.

Prelude to hymn " Ratisbon " J- G. Werner

Certain lines qf a hymn may also be played in stretto.
Dutch Psalm 100

Hymn " Aberystwyth "

Joseph Parry

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In this case, the imitation should preferably begin before the
end of the motif.

Jesu, meine Zuversicht

J J

Psalm 84 from the French Psalter

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Improvise three- part preludes, using imitation, based on the
motifs given in the bars above.

Two counterpoints can also be improvised against a given cantus
firmus which imitate each other to a large extent. A fine example
of this can be found in a fragment from the chorale prelude " Christe,
Qui Lux es et Dies/' by Albert de Klerk.

Greater unity is achieved when the motif is combined with the
cantus firmus which has been derived from one of the lines. In his
organ hymn ^ Veni, Creator Spiritus," Jean Titelouze derived a motif
from the first line, which can be combined with the cantus firmus in
various ways.

It is left to the discretion of the organist to make an appropriate
musical selection from the various possibilities, and naturally the motif
may appear in an altered form.

The motif, which we have derived from the second line of the hymn,
also permits of various combinations with the cantus firmus.

The following motifs could be developed against the 3rd and 4th
lines :

3rd line

4th line

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Improvise, playing the cantus firmus on the pedal, two voices in
counterpoint in free imitation based on the motifs given below —

The four-part chorale prelude

We shall start with a four-part improvisation, using notes of equal
duration, in which the cantus firmus occurs alternately in the soprano,
tenor and bass.

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Develop the following, lines in the same way, after which the cantus
firmus should be played in the soprano and bass.

1 C.F., soprano, manual 2.
Alto and tenor, manual i.
Bass, pedal.

2 Soprano, alto and tenor, manual i.
C.F., bass, pedal.

We will now consider improvising a bass in crotchets against a
cantus firmus in the soprano in minims. The middle voices should be
kept as subdued as possible.

Wie schon leuchtet der Morgenstern

Continue the development in the same manner

A wonderful example of a bass in quavers against a cantus ftrmus
in crotchets is to be found in the chorale " Ach grosser Konig, gross xu
alien Zeiten " from J. S. Bach's " St. John Passion/'

In many of his chorales, Bach wrote three contra-melodies in
complementary rhythm against a single cantus firmus. I can do no
better than draw the organist's attention to the chorales in the "St.
Matthew" and "St. John" Passions, and to the cantatas in the
" Christmas Oratorio."

Organists should constantly practice improvising on chorale
preludes in which a movement in quavers, alternating between the
voices, is maintained against the background of a cantus firmus in
crotchets. The three upper voices should be played on one manual
and the bass on the pedal.

Naturally, contra-melodies in complementary rhythms can also be
improvised against a cantus firmus in crotchets, resulting in a movement
in semi-quavers. Examples can be found in Bach's " Orgelbiichlein."
The following chorales, among others, should also be studied : " Alle
Menschen miissen sterben," " Christ lag in Todesbanden," %t Herr
Christ, der ein'ge Gottes-Sohn, " and " Jesu, meine Freude."

Develop a few hymns of your own choosing on the organ in such a
way that a semiquaver movement is obtained against the background
of the hymn tune in crotchets.

The chorales in the " Orgelbiichlein " also include a movement of
three notes in the contra-melodies to one note of the cantus firmus
(" Jesus Christus, unser Heiland," No. 32), and one of six against one
note (" Vater unser im Himmelreich, " No. 47). Develop a few hymns
of your own choice in a similar manner.

Gregorian chants also lend themselves admirably to being treated
in this way. The following example gives the first bars of the " Kyrie
Delia Domenico/' from " Fiori Musicali " by Frescobaldi (Kyrie from
the nth mass " In Dominicis Infra Annum ") :

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Develop this cantus firmus further on the organ, attempting to
bring out the four note motif with which the alto opens in the
accompanying voices. Naturally, it is unnecessary to improvise all
four parts without an interruption. The subject of the cantus firmus
is stated on manual II, the accompanying voices on I, to which the
oedal is coupled.

A word in conclusion

Many types of chorale preludes frequently encountered were not
discussed in the chapter on chorale preludes. No examples were
given of four-part choral improvisations, in which the melody is set in
the tenor or bass ; no preludes illustrating a figured cantus firmus,
and no preludes in which a motif was imitated with the choral melody.

When selecting the examples and exercises, the purposes of this
manual, restricted to the principles of elementary improvisation,
had to be borne in mind constantly. I have addressed myself to
those organists who wish to learn simple and correct improvisation
of chorale preludes, so that there was no point in including exercises
which would have demanded a greater improvising ability and a much
more versatile theoretical training than one would be justified in
expecting from the average church organist. Including more material
would also have meant expanding this book, and one of the author's
main objects was to produce a book within the reach of all organists.

It goes without saying that organists should .practice more
complicated forms to the greatest extent their talents will allow. They
should, therefore, regard this book purely as an introduction to the
art of improvisation.

Should this book be reprinted, every attempt will be made to fall
in with as many wishes as possible.

114385

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